Q&A – Stax

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Twang twang: “Woke up this mornin’ and . . .” (should be sung in a down-home blues wailin’ voice)

Note: This was written in early 2008 and is posted here for both historic reasons and because over two years later I still get questions from STAX owners around the World. Looking back on it today – Tuesday, January 19, 2010 – I have no regrets about my decision. However, although I was bent on leaving the industry at that pint, it turns out that I didn’t and later in 2008 I stated Stereonow Ltd and it’s still going string and I'm not bored!

However – all request to comment on STAX, reliability, unreliability and buying advice will from now on be politely declined by me. STAX was for me in the main fun while it lasted. That part of my life is now closed and I'm not inclined to backward glances. Thank you.

So anyway, I woke up this morning and decided in one nano-second or less that it was no longer fun running simply-STAX and Listen Carefully. So I have decided to close both of them down with immediate effect.
Impulse? Well – probably. But then again, it might have been bubbling away in my sub-conscious for a while. Not sure really. Probably unimportant anyway.

Both of these companies were and remain financially solvent. All the creditors will have been paid by the end of this week and by Friday of next week everyone awaiting equipment will have received it. (Remember this is early 2008.) Nice ‘n clean. Or tidy. Or something like that.

The point was though, purely and simply it was no longer enjoyable. I have decided to bow out gracefully at my peak. Why limp on when the commitment wasn’t what it used to be? Right?

Not only this, but declining reliability with the Omega earspeakers and the 717 energisers (my two best sellers) was becoming a headache for my customers and for me too. Towards the end, it was getting worse.

Probably the final straw was the fact that brand new factory-fresh STAX earspeakers could be purchased direct from reputable US retailers in some cases for hundred of pounds less than the UK RRP for the identical units. Simply-STAX was moving away from being a commercial proposition towards being an unrewarded vocation. It stopped making sense. Also there are many other distractions which are increasingly attractive to me – and which I could spend my remaining years more happily.

These include struggling to get a decent sound out of my Epiphone EB3 bass, (nothing to do with the bass, but a lot to do with my mediocre ability!) getting past the basics of Photoshop, taking time to listen to the blackbirds singing in my garden without feeling guilty, learning more about Remote Viewing, exploring my potential with Krav Maga, and immersing myself in the extraordinary experience of Lucid Dreaming, trying to become a reasonable cook, getting fit – and loads more.

Apart from anything else, so many people have been advising me to 'get a life' that, well, I can no longer ignore them. Curiously though, all the best lives for sale on eBay seem to have gone. Odd that. Anyway . . .

Having said all this, I very much love editing and driving this online blog. Well, it’s not really a blog now. Not really. It’s more of a bulletin board. And because I am very far from bored with it, having decided to reduce the audio content and to ramp up the music content I’m going to continue with it.

So, it’s not goodbye. Merely au revoirr – or something like that.

Question

Why did you wind up simply-STAX in 1998. you were the biggest and doing so well? Pity you are going. Is it just you or is audio retailing dying and you are leaving a sinking ship (no implication you are a rat of course) and should I start one of my own? Am I crazy?

Answer

My experiences and my motivations are out of the ordinary rather than typical. I don’t think any advice from me re this would automatically be of any value to you or anyone else in a similar position.

Having said this, and this is only a personal view, I believe that traditional high-street Audio retailing is dying and that there is a migration towards online retailing and demonstration facilities in well-constructed demonstration rooms on industrial estates. This is simply to avoid the monumental and crippling cost of rent on the high street.

Some die-hards who own the freehold of their high-street premises will cling on until they can no longer lift the stupidly heavy loudspeakers and/or are fed up doing demonstration that result is the visitor deciding to buy direct from the importer by a back-door facility (I personally never experienced this with my suppliers, but sure as eggs is eggs, it happens) or off the cheapest online seller or through grey-importing or whatever.
None of these were the reasons I decided to close my STAX business down.

• I simply got bored.
• I lost my enthusiasm for equipment and simultaneously felt a tidal wave of emotion regarding music.
• Previously I kept these two motivations in balance. And then last Monday I thought – ‘sod it’ I’ve had enough. I was making money, I had happy customers and so on – but I’d lost my commitment.
• I didn’t want to struggle on like some 60’s band reforming for an endless series of ‘farewell tours’. I don’t include the awe-inspiring emergence of The Who in this. So – I pulled the plug.

As to your question, well I don’t have an answer. Sorry.

Question

I'd be interested in your opinion of the relative merits of the STAX SRM-001, SRM-252 II and SRD-X energisers and specifically, whether upgrading to the SRM-252 II from either of the others would yield significantly improved audio performance. I ask because I'm thinking about 'rationalising' my current STAX kit; SR-001MkII and SR-Lambda Pro/SRD-X.

By upgrading from the SR-001MkII to the SRS-005 II, I'd retain most of the portability of the former and also have the option of plugging in the SR-Lambda Pro's, assuming they're compatible – I'm guessing that the Lambda Pro isn't that great a departure from the SR-202 Basic, albeit, they're separated by a decade or so.

Any wisdom you could share on this matter would be gratefully received.

Answer

The SRD-X energiser is sonically, despite the passage of years, one of the most musically satisfying energiser STAX made at entry level. The problem is though that spares are almost non-existent and sooner of later the unit will fail. During the interim though, sonically the RM252 II is a little faster, a little cleaner, slightly tighter on the bass and with a greater sense of presence. Upgrading to this would be a noticeable but not a shattering improvement.

You are correct in that the SR-202 is not a real improvement over the Lambda Pros and in fact in some ways inferior. In close A/B comparisons against the latest 404 earspeakers (just one down from the Omega-2 earspeakers) fully functioning Lambda Pros stand up well. Upgrading your earspeakers, given the circumstances you have outlined, does not seem a sensible move currently.

In summary then, changing at this stage within the proposed budget would be for convenience primarily rather than substantial sound quality. Personally speaking, if you want to be blown off your feet, try your Lambda Pros into the outstanding (but now discontinued) STAX SR-717 Class A energiser. As close to the ultimate as can be achieved at 'reasonable' money and yes, some of my customers preferred it to the much more expensive Omega-2 full system.

Question

I’d be interested in your opinion of the relative merits of the SRM-001, SRM-252 II and SRD-X energisers and specifically, whether upgrading to the SRM-252 II from either of the others would yield significantly improved audio performance. I ask because I’m thinking about ‘rationalising’ my current Stax kit; SR-001MkII and SR-Lambda Pro/SRD-X.

By upgrading from the SR-001MkII to the SRS-005 II, I’d retain most of the portability of the former and also have the option of plugging in the SR-Lambda Pro’s, assuming they’re compatible - I’m guessing that the Lambda Pro isn’t that great a departure from the SR-202 Basic, albeit, they’re separated by a decade or so. Any wisdom you could share on this matter would be gratefully received.

Answer

The SRD-X energiser is sonically, despite the passage of years, one of the most musically satisfying energiser STAX made at entry level. The problem is though that spares are almost non-existent and sooner of later the unit will fail. During the interim though, sonically the RM252 II is a little faster, a little cleaner, slightly tighter on the bass and with a greater sense of presence. Upgrading to this would be a noticeable but not a shattering improvement.

You are correct in that the SR-202 is not real improvement over the Lambda Pros and in fact in some ways inferior. In close A/B comparisons against the latest 404 earspeakers (just one down from the Omega-2 earspeakers) fully functioning Lambda Pros stand up well. Upgrading your earspeakers, given the circumstances you have outlined, does not seem a sensible move currently.

in summary then, changing at this stage within the proposed budget would be for convenience primarily rather than substantial sound quality. Personally speaking, if you want to be blown off your feet, try your Lambda Pros into the outstanding (but now discontinued) STAX SR-717 Class A energiser. As close to the ultimate as can be achieved at ‘reasonable’ money and yes, some of my customers preferred it to the much more expensive Omega-2 full system.

Question

Good answer about Jap grey imports on the headphone. What about cheap energisers?

Answer

Okay - you can’t buy new STAX energisers from Japan with UK voltage. And, frankly, I’ve no idea how you could locate used ones in Japan. So here’s what I do.

First, most European countries have a UK (or very close to) voltage. In Europe, that’s where the used and sometimes new STAX energiser bargains to be had. But most UK people miss out because they don’t realise the importance of a particular option on eBay. That option allows you to search for all STAX gear in Europe.

First, go HERE
You’ll notice that under the location section, about half way down, there are 3 ‘radio button’ options. Many people click the last button option (Items available to . . . ) and select, quite naturally, “United Kingdom”
The problem is that you get some of what you want, and loads of US voltage stuff you don’t. So instead . . .

Selected the first button option (Preferred locations) and select “European Union”. Then select any other parameters, and then press “search”, and away you go. That way, you’ll find, usually, a good range of UK voltage energisers, sometimes at ridiculously low prices.

Question

I write from Italy because I’ve the possibility to buy an old but in very good conditions UA-7 tonearm. I’ve a Denon DP 3000 turntable with the original plinth and I’d like to know if the tonearm can be mounted in this deck (if you have experience in this mode. Is there the possibility to find (or to buy from you) another original HS-7/type 2 headshell? Can it be used with MC cartridge Denon dl 103 (that requires an high tracking weight: 2,5 - 3,0 gr.)? Many thanks for your willingness to reply to this e-mail and thank you for your kindness.

Answer

First, the most satisfactory use of the STAX arms for me has always been on solid decks like the Denon rather than suspended decks like the Linn LP12.

I heard this arm on a Denon turntable years back with a Koetsu Red and the sound was superb. It is essential that you get a set-up template with this arm though. I think the deck was a DP-6000. A VERY underrated machine. Possibly the best direct drive of all time, or pretty close to the TRIO L-07D

I have no STAX spares for sale. Sorry about that. However from time to time I do see these parts on eBay for very little money. It is worth checking.

I believe the Denon DL 103 would be an excellent match. I used this cartridge for some years and found it excellent value.

Question

How can I replace the gauze on my old STAX earspeakers?

Answer

These are the key points:

1. The gauze is purely cosmetic. It is lightweight and open so as not to influence the sound. However because of this it offers no physical protection nor protection from dust. Or put differently, you can safely use your earspeakers without it. I used my old STAX Sigmas like this for years.
2. Gauze can be obtained direct from the importer for next to nothing. Call Symmetry on 01727 865488 for this. Or email them as follows: nigel@symmetry-systems.co.uk
3. The gauze fits between the ear-pad and the frame. It’s the only way to fit it. Older type pads are irreplaceable. Trying to remove any pad can be tricky because of the glues used. Some stick really tightly and need to be sliced away while others drop away and leave a nasty gunge. That gunge has to be removed before applying replacement pads - assuming you can still get them. Removal is rarely easy!
4. So here’s what you do. First, decide if you really want all this hassle. If you do, then gently peel away (or try to) one small section of the pad. If it’s hard to do, then call Symmetry to see if there are replacement pads. If there are, then have some fun. If there are no pads, then abandon the project. If there are pads then great.

Good luck.

Question

I am thinking of buying a used Linn LP12. There are loads on eBay and quite a few of hififorsale.com, but none of the Linn dealers I contacted have any for sale. What’s going on?

Answer

Linn dealers in the main are a very focused bunch. Some would call it narrowed minded or blinkered, but I can’t comment. In any event though they are passionate about the make and their products. Whether or not they would admit that there are turntables that provide a more musically satisfying sound – let alone have the balls to stock them – is open to debate.

Here’s the consequence as I see it. The LP12 owner returns to his/her dealer or any other Linn dealer for that matter and it is highly likely that there won’t be an opportunity to audition an alternative in or above the price band – as the dealer doesn’t stock any. There are no Linn dealers that stock the Brinkmann for example – the deck that increasing numbers of users and reviewers feel is the current reference standard for sheer musical enjoyment. That alone should indicate something.

Anyway . . . the inquisitive and back-sliding’ owner is thus obliged to either retain what they have or look outside of the majority of the Linn network for an alternative and/or improvement. Consequently no LP12 is traded in and so the Linn dealer has no used LP12 to sell.

My advice would be to look on eBay or the other used sites and never ever buy the unit unseen and unheard. There are as you say “loads” to choose from – so select a few to visit that are within a reasonable travelling distance of you. The LP12 complete with arm and cartridge is in my experience an absolute no-no for mail order. If you can’t collect it, then don’t even consider buying. Also do bear in mind that the deck, platter and so on need to be dissembled before transportation. This is not something to have bouncing around in the boot of your car.

Question

Okay Mr P - what are your experiences of the Linn Sara loudspeakers?

Answer

I never really cared for or about Linn Sara speakers, but some reviewers did and that drove prospects through our doors at Subjective Audio, most of whom had already decided to buy them – so sales were pretty much a foregone conclusion. I carried out a number of Sara installations, never thinking to peel back the foam grille front cover to take a look at the drivers.

Unknown to me, Linn had applied protective parcel tape over the tweeter, and this was to be removed during installation. So a number of pairs were out there with the damn tape still in place. Yes, of course I listened to the speakers during the installation as indeed did the customers. But the Linn machine was so relentlessly effective in those days that we all took the view that if that somewhat muted top end was the Linn way, then who were we, any of us mere mortals, to argue?

One customer upgraded via us from his LP12 to a Pink/Breuer/Van Den Hul MC1. I installed it. I nearly refused to take his cheque. The top end was dismal. This Pink combo surely couldn’t be responsible? And then I remembered. When the customer left to make us coffee, I removed the adhesive tape. The sound improved and that was that. I didn’t tell him.
Progressively I worked through the installed base and depending on circumstances either removed the tape secretly (as part of the general tune up I occasionally offered) or came out directly and admitted my errors.

Many of the customers knew each other and to one I jokingly said that it was a prototype Linn treble filter using a unique mechanical interference technique via a secret material designed to anonymously look like ordinary parcel tape. It got around within the ‘circle’.

It’s worth noting that two of that group contacted me to ask me to replace the aforementioned albeit mythical ‘filter’ as on balance they really preferred the sound with it on. Both were using LP12s.

Question

Just to be clear by overload (on my Meridian 101B preamp) I mean you don’t have to push the volume control very far on either CD or LP to get a decent volume. I do not want to use an attenuator if I do not need to. I thought you meant by overload that you get loads of volume at twenty to ten?

Answer

Overload is a characteristic typified by distortion and harshness. This is usually quite audible in extreme circumstances but sometimes too subtle to hear directly at lower levels. You somehow know it’s there but can’t quite pin it down.

This is separate from volume controls that don’t need to be advanced very far in rotation in order to get an acceptable volume of sound. There is unfortunately but unsurprisingly no uniformity of rotation of a volume control between makes other than of course no volume control is rotated twice around the clock in order to achieve the full volume. Or put differently, some volume controls might move from say 9 on a clock face around to 6 on a clock face between minimum and maximum i.e. 75% rotation. Others might be say 90% or even 60% rotation between maximum and minimum volume. It varies. Okay, moving on . . .

The very strong probability is that the miniscule output from your cartridge is incapable of overloading the MC input unless you were by chance using a very high output MC cartridge into a very high gain (high sensitivity) input module. For example from that era, a Supex 901 into a Meridian Dynavector high-gain module. In contrast, with older equipment built in the era before CDs were available, overload is a distinct possibility - hence the need for inline attenuators.

It is an unhelpful fact of life that because there is no standardization of input sensitivities nor indeed output of MC cartridges, that different inputs (say MC to Tuner to Tape, and so on) will produce different volumes when selected - even if the volume control has not been touched. This is why some more advanced units, especially Japanese ones have facilities to adjust the input sensitivities so that all sources produce the identical sound level to each other at any position on the volume control. Some purist argue that while this might be useful, the additional circuitry necessary to permit this is just one more unnecessary layer between the music and the listener.

Question

I recently acquired a set of Stax Lambda’s and a custom built driver unit on eBay from a bloke in New Zealand. The driver unit was quite different from any Stax model I had ever seen. It was quite huge for a start!
Once it arrived, I discovered that it was a model 50/1SC and had been made by Farnell in Wetherby, Yorkshire!!!

My first reaction was naturally “EE BAH GUM!” With my limited Yorkshire vernacular exhausted, I hooked it all up to see if it would explode or at least smoke a little. It did not happen. It sounded great! However, it did become apparent after awhile that some minor servicing was needed.
My questions are, can you tell me anything about this Farnell thingy and if a schematic can be obtained from somewhere.

Answer

I have used every resource at my disposal and can find absolutely nothing on this device. I do regret this. Frustrating for both you and I. Thank you for the query.

Question

I know that you no longer sell Stax equipment but you did say in an archived Q&A I saw on the internet that you were prepared to answer questions. Apologies if that is not the case. I have an SR-404 earspeaker that I use with a small solid state energiser (SRM-X). I note that most people seem to use an SRM--006T with this earspeaker. Would I get a significant benefit from upgrading to a vacuum tube energiser? It is not an inexpensive option.

Answer

I know all of the STAX items you mention very well indeed. If it were my money, and with the experience I have, I’d stick with the SRM-X for now. The reason being that it is utterly silent (or rather, my ones were) and in comparison with the 006t there is always a little valve ‘rush’ or ‘hiss’ in the background. This is not entirely eliminated even with the 007t. Such is the downside of valve energisers with electrostatic earspeakers.

However, there is a naturalness to the 006t sound which is quite seductive and very pleasing on naturally recorded music and speech which makes the SRM-X a tad ‘electronic’ is comparison.

I should point out that eventually nearly every SRM-X I sold went wrong after many years of faithful service and could not be repaired due to the unavailability of parts in general and the transformer in particular. A great pity as STAX never again built an energiser quite like the SRM-X.
In a nutshell then, no I don’t think you’ll achieve a significant upgrade currently. Therefore spend any surplus money you have right now on more music. Incidentally, I did not find the 006t Mk2 to be significantly superior sonically to the Mk1 version. Hope this helps.

Meanwhile I have added you to my mailing list for my newsletter which contains STAX info that doesn’t ordinarily appear elsewhere.

Question

Dear Howard. Grateful for your views as to whether the captioned extension cable (6-pin in/female & 5-pin out/male) will work with a pair of SR-3 earspeaker into the normal socket of a SRA-14s. Many thanks in advance.

Answer

I am finding this a very difficult question to answer with any confidence.
First, despite many years of intimate knowledge of STAX equipment (The SRA 14-S was one of the finest preamps I have ever owned, from any maker) I was totally unaware that a conversion cable as you describe existed. I guess neither of us know if it is an official lead, or a DIY job.
I was always taught, and it stood I and my customers in good stead, that you never ever mix headphones with 5 pins with sockets with 6 pins nor vice versa. For a start, the polarising voltages are entirely different. There is some evidence that despite this, that combination will work - for a while. Personally, I’d be fearful of long term damage to the earspeakers.
In your position, I would start a thread on the head-fi forum. I feel reasonably confident that someone there might well be able to give solid advice based on direct personal experience rather than supposition and/or wishful thinking.

Question

Hi Howard,
Very briefly, could you tell me if there is any significant improvement in sound between the older SRM 717 and the newer 727 solid state amplifiers. Also, I would be interested if you have any opinions on third party energisers for Stax earspeakers. I’ve seen several mentioned such as KGSS and Rudistor (at a price!) and I’ve often wondered if it’s all just hype?

Answer

After extensive listening, virtually no differences of any significance and even those differences were not improvements to my ears. Re the other items you mention, I have no direct personal experience and rather than divert you with well-intentioned buy ultimately worthless speculation, I’d rather not comment.

Question

“Hi Howard, I hope the world is treating you well. Haven’t been in touch for a while, well since the hifi show. The reason for my mail is I am toying with changing my phono stage & the last time we spoke , you mentioned that the PS Audio phono stage was very good. I currently own a near new LFD MMC phono stage, question is would you be happy to do a part exchange in order for me to move things on? will be pleased to hear from you soon. all the best.”

Answer

Thank you for this. Can you let me know the approx age of the MMC and how much you would be hoping for?

Now then, I have to tell you that in my direct personal experience, recent editions of LFD phono stages are VERY hard to beat sonically. The Manley Steelhead (£4,995) does and so does the LFD MCT (£3,000) and, when I get my one, the LFD Anniversary (£5,000) probably will - if Richard ever gets around to building it.

I’m not clear, thinking on your behalf, that an exchange would necessarily be in your best interests.

From a practical standpoint though there are a number of factors with the PS Audio Phono Stage that buyers very much welcome. These are:

1. Externally switchable between MM and MC
2. Volume control that enables you to drive power amps and active speakers directly. Remote control too!
3. Small footprint
4. XLR (balanced) as well has RCA (single ended phono) connections
5. Terrific value.

Can I suggest you phone me on 020 8447 8485 so we can discus this? I believe I can give a more considered and hopefully more valuable opinion once I know more of the system and your aspirations.

Question

Which era of STAX headphones are more reliable. Old or new?

Answer

They’re called ‘Earspeakers’ incidentally. Old or new is not really precise enough to give an accurate answer. However for many enthusiasts the golden era was pre 1996 and the modern era in post 1996. From that perspective bearing mind I have over the years sold roughly equal quantities of energisers and earspeakers from both eras, reliability is far higher on the older equipment. Personally I believe that in general the pre 1996 energisers were better built. Built to last a long time in fact.

Question

There are two types of STAX Talent DAC – Talent and Talent dB. Do you know the differences?

Answer

In a word, no, I don’t know the differences. Very few DAC Talent units were imported into the UK and so information is scarce. It had quite good reviews at the time but curiously seemed quite dependent on the transport being used. By today’s standard I suspect that the bass would be slow and soft. However the mid range would even today be very hard to beat. The sound would be spacious. Treble detail would probably fall short of today’s standards. I think today I would not pay more than 200 euros for one. Please bear in mind that it probably cannot be serviced today anywhere other than back at the makers in Japan.

 

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